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Journal articles on the topic 'Anne Katherina'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Havener, Sandra. "Katherine Anne Porter: Conversations." Women's Studies International Forum 11, no. 1 (January 1988): 87. http://dx.doi.org/10.1016/0277-5395(88)90013-1.

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2

Titus, Mary, Katherine Anne Porter, Isabel Bayley, Clinton Machann, and William Bedford Clark. "Letters of Katherine Anne Porter." South Atlantic Review 56, no. 3 (September 1991): 134. http://dx.doi.org/10.2307/3200046.

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3

Folks, Jeffrey J., Katherine Anne Porter, and Isabel Rayley. "Letters of Katherine Anne Porter." World Literature Today 65, no. 2 (1991): 312. http://dx.doi.org/10.2307/40147211.

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4

Hasler-Brooks, Kerry. "Katherine Anne Porter, Magic, andtransition." Twentieth-Century Literature 61, no. 2 (January 1, 2015): 209–31. http://dx.doi.org/10.1215/0041462x-3112204.

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5

Taylor, Melanie Benson. "Katherine Anne Porter’s Familiar Countries." American Literary History 31, no. 2 (2019): 187–206. http://dx.doi.org/10.1093/alh/ajz011.

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AbstractIn a career that spanned nearly half a century, Katherine Anne Porter developed a transregional, transhistorical consciousness marked by the multiple, iterative contagions of modernity. Considered mainly a Southern writer—despite marginal claims to both the region’s territories and its elite genealogies—Porter habitually displaced a complex Southern imaginary onto unlikely places and times. This essay locates Porter’s most “Southern” meditations in remote contexts, including her commentaries on postrevolutionary Mexico, where she spent much of the 1920s; her lifelong work on a never-completed biography of the Puritan polymath Cotton Mather; her unpublished Bermuda poems; and her only completed novel, Ship of Fools (1962), which charts a transatlantic voyage on a second-class cruise liner. Porter protected her South fiercely but dialectically; her stake in a Southern narrative would emerge only circuitously, by way of alternative geographies and narratives where she identified variously with the elite and the dispossessed. In the end, Porter’s South poses an instructive challenge for the scholars still attempting to define and deconstruct the region: it is at once everywhere and nowhere; an agent and an inheritor of colonial-capitalist trauma; a refuge and a nightmare.
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6

Fox, Heather. "Representations of Truth." Janus Head 14, no. 2 (2015): 201–25. http://dx.doi.org/10.5840/jh201514227.

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Katherine Anne Porter submitted a group of stories called “Legend and Memory” to The Atlantic Monthly in 1934, but instead of the reception she hoped for, The Atlantic Monthly responded with a request for significant revisions. These recommendations, as Porter adamantly explained, would change the collective meaning of the stories. And yet, Porter ultimately chose to concede, publishing the stories separately in other magazines before finally collecting them together again in The Leaning Tower and Other Stories (1944). Over the next twenty years, Porter would publish the stories (later called The Old Order stories) in two more collections— The Leaning Tower and Other Stories, The Old Order: Stories of the South from The Leaning Tower, Pale Horse, Pale Rider, and Flowering Judas and The Collected Stories of Katherine Anne Porter. Each time she chose not to edit individual stories but rearranged the order of the stories. Individually, each story is like a sketch, or one component of the protagonist Miranda’s construct of identity from the perspective of an adult looking backward and remembering as a child. And yet collectively, these stories reveal memory’s process of reconstruction and how the perspective of time transforms event through addition, elimination, and arrangement. Using text, correspondence, manuscripts, and cognitive research to examine the progression of Porter’s work on The Old Order stories in three collections over more than thirty years, “Representations of Truth: The Significance of Order in Katherine Anne Porter’s The Old Order Stories” traces the progressive ordering of these stories from their original submission to their final collection in The Collected Stories of Katherine Anne Porter (1965). This essay argues that Porter’s rearrangements reflect a reconstructive process of memory. Over time, the reorganization of The Old Order stories demonstrate a shift in Miranda’s memories from a chronological positioning to a representational ordering, allowing Miranda to reexamine her perspective on past experiences.
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7

Park, Yoanna. "Symbolism in Katherine Anne Porter's Short Story Rope." NOBEL: Journal of Literature and Language Teaching 9, no. 1 (April 30, 2018): 1–8. http://dx.doi.org/10.15642/nobel.2018.9.1.1-8.

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Abstract This study aims to examine the use of a symbol and narration technique in Katherine Anne Porter’s short story Rope. The story is about a married couple who gets into an argument due to a bundle of rope. This study examines how the author describes the psychological state of the couple through their reaction over the rope. The data sources are the short story Rope and related articles. The data was collected by close reading. The collected data are analyzed by applying symbolism theory and examining the narration technique. The findings show that the argument over the rope reveals the wife’s hidden frustrations and her husband’s inability to understand her troubles. Keywords: Symbol; rope; frustration; Katherine Anne Porter; narration
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8

Watts, Geoff. "Anna Katherine Donald." Lancet 373, no. 9668 (March 2009): 1002. http://dx.doi.org/10.1016/s0140-6736(09)60597-3.

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9

Titus, Mary, Katherine Anne Porter, Ruth M. Alvarez, and Thomas F. Walsh. "Uncollected Early Prose of Katherine Anne Porter." South Atlantic Review 60, no. 1 (January 1995): 182. http://dx.doi.org/10.2307/3200736.

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10

Roberts, Kathryn S. "Writing “Other Spaces”: Katherine Anne Porter’s Yaddo." Modernism/modernity 22, no. 4 (2015): 735–57. http://dx.doi.org/10.1353/mod.2015.0073.

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11

Stoleriu, Oana-Raisa. "Strings of Life: Memory as Myth in Porter’s Miranda Stories." Romanian Journal of English Studies 13, no. 1 (December 1, 2016): 53–60. http://dx.doi.org/10.1515/rjes-2016-0008.

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AbstractThe Pulitzer-prize writer, Katherine Anne Porter, dedicates a great part of her work to the Southern history. Through Miranda’s memories, this writer questions some of the major Southern myths – the Southern belle, the Southern family. This paper aims to highlight the moulding of a feminine voice of the South, whose identity is torn between the Old and the New Order.
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12

Austenfeld, Thomas, and Janis P. Stout. "Katherine Anne Porter: A Sense of the Times." Rocky Mountain Review of Language and Literature 50, no. 1 (1996): 97. http://dx.doi.org/10.2307/1348357.

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13

Moddelmog, Debra A., and Janis P. Stout. "Katherine Anne Porter: A Sense of the Times." American Literature 68, no. 3 (September 1996): 651. http://dx.doi.org/10.2307/2928257.

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14

Mortimer, Gail, and Janis P. Stout. "Katherine Anne Porter: A Sense of the Times." South Central Review 15, no. 2 (1998): 68. http://dx.doi.org/10.2307/3190336.

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15

MacCurdy, Carol, and Darlene Harbour Unrue. "Truth and Vision in Katherine Anne Porter's Fiction." American Literature 58, no. 3 (October 1986): 457. http://dx.doi.org/10.2307/2925632.

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16

Austenfeld, Thomas, and Robert H. Brinkmeyer. "Katherine Anne Porter's Artistic Development: Primitivism, Traditionalism, Totalitarianism." South Atlantic Review 59, no. 2 (May 1994): 179. http://dx.doi.org/10.2307/3200822.

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17

Brookhart, Mary Hughes, Darlene Harbour Unrue, and Louise Westling. "Truth and Vision in Katherine Anne Porter's Fiction." South Atlantic Review 52, no. 2 (May 1987): 133. http://dx.doi.org/10.2307/3200498.

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18

Alvarez, Ruth M. "The Ambivalent Art of Katherine Anne Porter (review)." MFS Modern Fiction Studies 53, no. 3 (2007): 646–51. http://dx.doi.org/10.1353/mfs.2007.0072.

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19

Willis, Julianne, and Jane Anlezark. "KAKADU — A Unit of Work for Developing Readers and Writers in Year 10: An Aboriginal Classroom." Aboriginal Child at School 23, no. 2 (June 1995): 17–27. http://dx.doi.org/10.1017/s0310582200006453.

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This program is based on a unit of work created and taught by Elsabe Bott and Anne Brooks. It was constructed for a Year 10 class of Aboriginal students. The class consists of twenty-five 15-year-olds (approximate age) from the following range of communities: Boroloola; Mornington Island; Elcho Island; Katherine; Ngkurr; Pigeon Hole; Bulman; Tenant Creek; Alice Springs; Tiwi Islands; Alexandra Downs Station and Elliot. This combination of communities changes each year.
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20

Moddelmog, Debra A., and Thomas F. Walsh. "Katherine Anne Porter and Mexico: The Illusion of Eden." American Literature 65, no. 2 (June 1993): 379. http://dx.doi.org/10.2307/2927367.

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21

Mermin, Dorothy. "Women Becoming Poets: Katherine Philips, Aphra Behn, Anne Finch." ELH 57, no. 2 (1990): 335. http://dx.doi.org/10.2307/2873075.

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22

Alvarez, Ruth M., and Robert H. Brinkmeyer. "Katherine Anne Porter's Artistic Development: Primitivism, Traditionalism, and Totalitarianism." South Central Review 13, no. 1 (1996): 45. http://dx.doi.org/10.2307/3189915.

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23

Lansky, Ellen. "Female Trouble: Dorothy Parker, Katherine Anne Porter, and Alcoholism." Literature and Medicine 17, no. 2 (1998): 212–30. http://dx.doi.org/10.1353/lm.1998.0011.

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24

Knowles, Sebastian D. G., and Robert H. Brinkmeyer. "Katherine Anne Porter's Artistic Development: Primitivism, Traditionalism, and Totalitarianism." Yearbook of English Studies 26 (1996): 327. http://dx.doi.org/10.2307/3508715.

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25

Austenfeld, Thomas, and Thomas F. Walsh. "Katherine Anne Porter and Mexico: The Illusion of Eden." South Atlantic Review 58, no. 3 (September 1993): 143. http://dx.doi.org/10.2307/3200935.

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26

Fox, Heather. "Resurrecting Truth in Katherine Anne Porter's THE FIG TREE." Explicator 72, no. 3 (July 3, 2014): 219–23. http://dx.doi.org/10.1080/00144940.2014.932744.

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27

Stuckey, W. J. "The Letters of Katherine Anne Porter (review)." MFS Modern Fiction Studies 36, no. 4 (1990): 568–69. http://dx.doi.org/10.1353/mfs.0.0213.

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28

Jothimani, S., and P. Dinakaran. "Theme of Life and Death in Katherine Anne Porter’s “Holiday”." NOTIONS 9, no. 2 (2018): 1–6. http://dx.doi.org/10.31995/notions.2018v09n2.01.

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Katherine Anne Porter contributed memorable stories to American literature for over half a century. A Southerner and a contemporary of Fitzgerald and Hemingway the amount of her published writings are very small though her reputation is considerable. The Saturday Review has positioned her in the legacy of Hawthorne, Flaubert, and James as an artist and story-teller. Her fiction has been marked for its elegance, beauty, brilliance and accuracy. Most of the critics acknowledge about the supremacy of Porter’s literary style. They adore the effectiveness of her sarcasm, the precision of her language, and the economy of her structure.
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29

Stout, Janis P. "Katherine Anne Porter's "Reflections on Willa Cather": A Duplicitous Homage." American Literature 66, no. 4 (December 1994): 719. http://dx.doi.org/10.2307/2927695.

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30

Platizky, Roger. "Adam's Arrows in Katherine Anne Porter's PALE HORSE, PALE RIDER." Explicator 72, no. 1 (January 2014): 1–5. http://dx.doi.org/10.1080/00144940.2013.875868.

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31

McWilliam, F. "Reading Katherine Anne Porter's "He" through "He": Versions and Revisions." Genre 47, no. 3 (September 1, 2014): 309–34. http://dx.doi.org/10.1215/00166928-2797201.

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32

Stout, Janis P. "Katherine Anne Porter: The Illusion of Eden (review)." MFS Modern Fiction Studies 39, no. 2 (1993): 378–80. http://dx.doi.org/10.1353/mfs.0.0566.

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33

Azar, Fatemeh Ahmadi, and Farid Parvaneh. "Theory and Nonlinearity in The Time Traveler’s Wife: Reading in Light of Hayles’s Theory." Journal of Educational and Social Research 8, no. 3 (September 1, 2018): 19–25. http://dx.doi.org/10.2478/jesr-2018-0027.

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Abstract This paper aims to focus on the subject of N. Katherine Hayles’s nonlinearity in Audrey Niffenegger’s The Time Traveler’s Wife as a postmodern work. Niffenegger published her debut novel, The Time Traveler’s Wife in 2003. This novel is a romance and science fiction which narrates the love story of Henry DeTamble – a man with genetic disorder that forces him to time travel unwillingly – and his artist wife, Clare Anne Abshire – who has to deal with his absence and dangerous experiences. Since Henry is a time traveler and experiences life in a non-linear manner, the main question of this research is that to what extent the characteristic of nonlinearity shapes the personality and un-consciences of Henry and Clare in a society which has been defined with Newtonian/Cartesian or linear thinking. To answer this question, N. Katherine Hayles’s Chaos theory can be applicable. Hayles considers nonlinearity as one of the most important and fundamental characteristics of chaotic systems. One of the findings of this research is the inapplicability of Newtonian thinking in post-modern literature.
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34

Doane, Margaret. "‘This Strange, Old World’ and Other Book Reviews by Katherine Anne Porter ed. by Darlene Harbour Unrue, and: Katherine Anne Porter: A Life by Joan Givner." Western American Literature 27, no. 3 (1992): 239–40. http://dx.doi.org/10.1353/wal.1992.0107.

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35

Schrader, Valerie Lynn. "Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 273–92. http://dx.doi.org/10.1386/smt_00041_1.

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The musical Six has taken the United Kingdom by storm, earning five Olivier nominations in 2019 and crossing the pond, previewing on Broadway in the spring of 2020. Six tells the story of Henry VIII’s six wives in what the musical portrays as their own words, with a twist ‐ the six wives form a girl group performing a concert for their audience. Through a rhetorical analysis of the musical’s script, cast recording, piano/vocal score, and field notes from two performances, I argue that Six creates public memory of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, focusing on their individual personalities and accomplishments, rather than simply on their relationship to Henry VIII, as documented history describes them. I suggest that by doing so, Six minimizes the role of place and time in the creation of public memory. Furthermore, I argue that this creation of public memory is intertwined with Burkean identification, as theatregoers find themselves connecting with one or more of the queens as they are portrayed in Six. By combining twenty-first-century language with the stories of sixteenth-century women, Six builds consubstantiality between its characters and its audiences. This article also explores how the final number, Six, reinvents the women’s stories as they might have been if they had lived in the twenty-first century and the impact that this has on public memory. Finally, I suggest that Six is a feminist text, advocating for solidarity and the individually defined empowerment of all women.
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36

Murphy, Clare M. "Thomas More in the Subtext of Shakespeare and Fletcher’s Henry VIII." Moreana 42 (Number 163), no. 3 (September 2005): 105–18. http://dx.doi.org/10.3366/more.2005.42.3.9.

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Since the dominant theme of the play is that of “The King’s Great Matter” (his divorce of Katherine and marriage to Anne) it would be difficult for a viewer or reader not to think of Thomas More as the play unfolds, so much was he involved in this event. But Sir Thomas More—which also had Shakespeare among its authors—was not approved by the Master of the Revels, and the playwrights no doubt wished to avoid a similar rejection. A solution for them was to suggest More in the subtext, particularly since his cult was by then well established. This article studies the relationship of the absent More to several of the characters present on stage.
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37

Waterman, Bryan. "Plague Time (Again)." American Literature 92, no. 4 (October 6, 2020): 759–66. http://dx.doi.org/10.1215/00029831-8780971.

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Abstract This essay probes literary representations of pandemic temporalities to argue that plague reshapes our sense and experience of time in specific ways: It opens contact with the epidemic past to restructure historical understanding and attendant forms of identity; it promotes utopian or cosmopolitan fantasies of shared vulnerability and future inoculation; it marks survivors with a kind of zombie consciousness in an unending, limitless present. Drawing on American works from Charles Brockden Brown’s Arthur Mervyn (1799–1800) to Katherine Anne Porter’s Pale Horse, Pale Rider (1939) to Tony Kushner’s Angels in America (1992–95), this essay situates their discussions of plague time within broader traditions stretching from Thucydides to Daniel Defoe to Albert Camus.
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38

Subrizi, Carla. "Katherine S. Dreier e la Société Anonyme: un’altra storia del modernismo." Boletín de Arte, no. 36 (October 30, 2017): 21–29. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3333.

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Prima che il Museum of Modern Art (MoMA) inaugurasse la sua apertura nel 1929, un altro Museum of Modern Art era già esistito. Si chiamava Société Anonyme-Museum of Modern Art 1920, dove il 1920 era un’indicazione aggiunta proprio dopo il 1929 per sot- tolineare la data di inizio di una storia che non doveva essere equivocata. Da allora e no al 1950, la Société Anonyme divenne un riferimento storico e culturale fondamentale per l’arte americana e internazionale. La stessa nascita del MoMA avrebbe avuto non poche relazioni con questa piccola società di artisti. In pochi anni la Société Anonyme raccolse inoltre un patrimonio straordinario di opere poi divenute la base delle collezioni americane museali più signi cative tra gli anni Quaranta e Cinquanta.
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39

Tanner, James T. F., and Darlene Harbour Unrue. ""This Strange, Old World" and Other Book Reviews by Katherine Anne Porter." American Literature 64, no. 3 (September 1992): 616. http://dx.doi.org/10.2307/2927767.

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40

Fornataro-Neil, M. K. "Constructed Narratives and Writing Identity in the Fiction of Katherine Anne Porter." Twentieth Century Literature 44, no. 3 (1998): 349. http://dx.doi.org/10.2307/441814.

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41

Stout, Janis P. ""Something of a Reputation as a Radical": Katherine Anne Porter's Shifting Politics." South Central Review 10, no. 1 (1993): 49. http://dx.doi.org/10.2307/3190282.

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42

Wiesenfarth, Joseph. "Truth and Vision in Katherine Anne Porter's Fiction by Darlene Harbour Unrue." Studies in American Fiction 15, no. 2 (1987): 238–40. http://dx.doi.org/10.1353/saf.1987.0016.

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43

Sierra, Horacio. "Imagining Shakespeare's Wife: The Afterlife of Anne Hathaway by Katherine West Scheil." Early Modern Women 14, no. 1 (2019): 269–72. http://dx.doi.org/10.1353/emw.2019.0067.

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44

Grogan, Christine L. "Visions and Revisions in Katherine Anne Porter's "The Jilting of Granny Weatherall"." Mississippi Quarterly 72, no. 1 (2019): 49–68. http://dx.doi.org/10.1353/mss.2019.0001.

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45

Schultz, Lee. "The Texas Legacy of Katherine Anne Porter by James T. F. Tanner." Western American Literature 27, no. 2 (1992): 132–33. http://dx.doi.org/10.1353/wal.1992.0178.

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46

Gupta, S. "Harper Katherine Anne and Robert L. Brown (eds.), The Roots of Tantra." Indo-Iranian Journal 46, no. 3 (2003): 273–81. http://dx.doi.org/10.1163/000000003124995241.

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47

Stout, Janis P. "Katherine Anne Porter's Artistic Development: Primitivism, Traditionalism, and Totalitarianism (review)." MFS Modern Fiction Studies 40, no. 2 (1994): 367–69. http://dx.doi.org/10.1353/mfs.0.0542.

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48

Titus, Mary. "“A little stolen holiday”: Katherine Anne Porter's narrative of the woman artist." Women's Studies 25, no. 1 (November 1995): 73–93. http://dx.doi.org/10.1080/00497878.1995.9979093.

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49

Ru, Wang. "Analysis of Women Characters in Miranda Stories." English Literature and Language Review, no. 511 (November 25, 2019): 180–83. http://dx.doi.org/10.32861/ellr.511.180.183.

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Katherine Anne Porter was awarded Pulitzer Prize for Fiction and National Book Award for her most important works The Collection of Short Stories which include 27 short stories, nine of which are Miranda stories consisting of Old Mortality, The Old Order and Pale Horse,Pale Rider. Miranda stories give an account of the life experience of three generations of females in Miranda family, including Miranda’s grandma, aunt Amy and Eva and Miranda herself. Combined with the background of Potter’s life and feminist movement in the United States, this paper analyzed the existence status and the images of female characters in Miranda family, and explored the process of female consciousness, which will help comprehensively understand Potter’s works and her female’s awakening.
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50

Duffy, Eamon. "Holy Maydens, Holy Wyfes: the Cult of Women Saints in Fifteenth- and Sixteenth-century England." Studies in Church History 27 (1990): 175–96. http://dx.doi.org/10.1017/s0424208400012079.

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The cult of the saints, according to Emile Male, ‘sheds over all the centuries of the middle ages its poetic enchantment’, but ‘it may well be that the saints were never better loved than during the fifteenth and sixteenth centuries’ Certainly their images and shrines were everywhere in late medieval England. They filled the churches, gazing down in polychrome glory from altar-piece and bracket, from windows and tilt-tabernacles. In 1488 the little Norfolk church of Stratton Strawless had lamps burning not only before the Rood with Mary and John, and an image of the Trinity, but before a separate statue of the Virgin, and images of Saints Margaret, Anne, Nicholas, John the Baptist, Thomas à Becket, Christopher, Erasmus, James the Great, Katherine, Petronilla, Sitha, and Michael the Archangel.
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